The Baroque Composers - Ashgate

The 

Baroque Composers 

5-Volume Series 

Series Editor: David Ledbetter, Royal Northern College of Music, UK 

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Our knowledge of music of the Baroque era has been transformed in recent decades, 

not least because of the revolution in performing styles and techniques. This series 

dedicates a volume to each of the central composers - Monteverdi, Purcell, Vivaldi, 

J.S. Bach and Handel - and brings together selected essays which are significant in 

terms of their contribution to the progress of thought in their field. These include 

studies in biography, sources, analysis and genre, reception, performance and more, 

as relevant to each individual composer. 

Each volume is edited by a leading authority and includes a substantial introduction 

which outlines the main developments in recent scholarship, provides context for the 

selected essays and points the reader to other crucial items in the rich literature. 

This series makes readily available important articles from publications of restricted 

circulation that are difficult to access, and is invaluable for researchers and students 

keen to keep abreast of the immense development of musicology since the midtwentieth 

century. 

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The Baroque Composers 

NEW 

Monteverdi 

Edited by Richard Wistreich, Royal Northern 

College of Music, Manchester, UK. 

The field of Monteverdi studies has seen many groundbreaking 

contributions from musicologists in recent 

years. This collection of articles exemplifies the best of 

this scholarship in English and includes papers on a wide 

range of issues including some of the ‘big’ questions in 

the historiography and hermeneutics of early Baroque 

music: musical representation of language; theory, 

analysis and genre; social, institutional, cultural and 

gender history; and performance practices. 

Contents and contributors include: 

Introduction 

Part I Text and Music: 

Monteverdi’s poetic choices, 

Nino Pirrotta 

Madrigal, monody, and Monteverdi’s ‘via naturale alla immitatione’, 

Gary Tomlinson 

Monteverdi’s mimetic art: ‘L’incoronazione di Poppea’, 

Ellen Rosand 

Resemblance and representation: towards a new aesthetic in the music of 

Monteverdi, 

Tim Carter. 

Part II Theory and Genre: 

Artusi, Monteverdi, and the poetics of modern music, 

Tim Carter 

Gendering modern music: thoughts on the Monteverdi–Artusi controversy, 

Suzanne G. Cusick 

Claudio Monteverdi’s Ordine novo, bello et gustevole: the canzonetta as dramatic 

module and formal archetype, 

Massimo Ossi 

Monteverdi’s three genera: a study in terminology, 

Barbara Russano Hanning. 

Part III Criticism, Analysis and History: 

Constructions of gender in Monteverdi’s dramatic music, 

Susan McClary 

The Platonic agenda of Monteverdi’s Seconda Practica: a case study from the eighth 

book of madrigals, 

Geoffrey Chew 

Monteverdi, two sonnets and a letter, 

Anthony Pryer 

Tacitus incognito: opera as history in L’incoronazione di Poppea, 

Wendy Heller. 

Part IV Institutional, Source and Performance Issues: 

Musicians at the court of Mantua during Monteverdi’s time: evidence from the 

payrolls, 

Susan Parisi 

Monteverdi’s Mantuan Orfeo: some new documentation, 

Iain Fenlon 

Transposition in Monteverdi’s Vespers of 1610: an ‘aberration’ defended, 

Andrew Parrott 

La Poppea Impasticciata or, who wrote the music to L’incoronazione (1643)?, 

Alan Curtis 

Monteverdi’s ‘Mass of Thanksgiving’ revisited, 

Jeffrey G. Kurtzman 

Name Index. 

includes 17 previously published journal articles 

January 2011 580 pages Hardback 978-0-7546-2902-3 

http://www.ashgate.com/isbn/9780754629023 

NEW 

Purcell 

Edited by Peter Holman, University of Leeds, UK 

The articles in this volume are a representative selection 

of the best scholarly writing on Purcell’s music. The 

collection reflects the increase in new research stimulated 

by Purcell’s 300th anniversary in 1995 and the introduction 

explores the history of Purcell scholarship, reviews 

its present state, comments on the significance of the 

articles and offers a prospect for the future. 


Introduction 

Part I Biography and Contexts: 

‘Only Purcell e’re shall equal Blow’, 

Bruce Wood 

The Italian connection: Giovanni Battista Draghi and Henry Purcell, 

Peter Holman 

Purcell’s stage singers and Purcell’s stage singers: a documentary list, 

Olive Baldwin and Thelma Wilson 

‘He had the honour to be your master’: Lady Rhoda Cavendish’s music lessons with 

Henry Purcell, 

Michael Burden 

Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas, 

Bryan White. 

Part II Sources, Editing and Dissemination: 

Manuscript music in Purcell’s London, 

Robert Thompson 

Creating the corpus: the ‘complete keyboard music’ of Henry Purcell, 

Christopher Hogwood 

The Fairy Queen: a fresh look at the issues, 

Bruce Wood and Andrew Pinnock 

Newly discovered autograph keyboard music of Purcell and Draghi, 

Curtis Price 

Purcell’s ‘Rejoice in the Lord’, All Ways, 

Lionel Pike 

Robert Pindar, Thomas Busby, and the mysterious scoring of Henry Purcell’s 

‘Come Ye Sons of Art’, 

Rebecca Herissone. 

Part III Styles, Genres and Compositional Process: 

The technique and forms of Purcell’s sonatas, 

Michael Tilmouth 

Purcell’s extended solo songs, 

Margaret Laurie 

Purcell’s Laudate Ceciliam: an essay in stylistic experimentation, 

Martin Adams 

Purcell’s revisions to the funeral sentences revisited, 

Robert Shay 

Compositional choices in Henry Purcell’s Three Parts Upon a Ground, 

Peter Holman 

Composition as an act of performance: artifice and expression in Purcell’s sacred 

partsong Since God So Tender a Regard, 

Alan Howard 

‘Fowle originalls’ and ‘fayre writeing’: reconsidering Purcell’s compositional process, 

Rebecca Herissone. 

Part IV Performance, Performance Practice and Reception: 

The Shakespeare-Purcell Fairy Queen: a defence and recommendation, 

Roger Savage 

Continuity and tempo in Purcell’s vocal works, 

A. Margaret Laurie 

The first performance of Purcell’s Funeral Music for Queen Mary, 

Bruce Wood 

‘Or rather our musical Shakespeare’: Charles Burney’s Purcell, 

Richard Luckett 

Purcell debauch’d: the Dramatick Operas in performance, 

Michael Burden 

Name Index. 

Includes 23 previously published journal articles 



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NEW 

Vivaldi 

Edited by Michael Talbot, Liverpool University, UK 

The articles selected for this volume form a representative 

selection of the best writing on Vivaldi from the last 30 

years, and include contributions from major figures in 

the field of Vivaldi research. Aspects covered include 

biography, Venetian cultural history, manuscript studies, 

genre studies and musical analysis. An introduction by 

Michael Talbot reviews the state of Vivaldi scholarship 

past and present and comments on the significance of the 

articles. 


Introduction 

Part I Biographical Studies: 

The fortunes of Vivaldi biography, from Pincherle to the present, 

Michael Talbot 

Antonio Vivaldi e i Vivaldi, 

Gastone Vio 

Antonio Vivaldi prete, 

Gastone Vio 

Vivaldi dagli archivi di Mantova, 

Claudio Gallico 

I nove ‘principi di altezza’ corrispondenti di Vivaldi e la dedica enigmatica del 

Concerto RV 574. Alla ricerca dell’indirizzario perduto, 

Carlo Vitali 

Documenti inediti su Vivaldi a Roma, 

Fabrizio Della Seta 

Wenzel von Morzin as a patron of Antonio Vivaldi, 


Vivaldi e il Teatro La Pergola a Firenzi: nuove fonti, 

William C. Holmes. 

Part II Source Studies: 

Towards a Vivaldi chronology, 

Paul Everett 

Vivaldi’s marginal markings: clues to sets of instrumental works and their chronology, 

Paul Everett 

Vivaldi at work: the autograph of the ‘Gloria’ RV 589, 

Paul Everett 

Vivaldi’s Quadro? The case of RV Anh. 66 reconsidered, 


La famosa mano di Monsieur Roger: Antonio Vivaldi and his Dutch publishers, 

Rudolf Rasch 

Vivaldi and Lotti: two unknown borrowings in Vivaldi’s music, 

Kees Vlaardingerbroek. 

Part III Analytical and Genre Studies: 

Le opere giovanili di Antonio Vivaldi, 

Federico Maria Sardelli 

Vivaldi’s ‘Crucifixus’ in its descriptive and rhetorical context, 

Jasmin Cameron 

Formal structure in Vivaldi’s variation sets, 

Nicholas Lockey 

‘Die schwarze Gredel’, or the parallel minor key in Vivaldi’s instrumental music, 

Bella Brover-Lubovsky 

Ueber die Beziehungen zwischen einigen Concerto- und Sinfonia-Sätzen Vivaldis, 

Karl Heller 

The dramatic in Vivaldi’s cantatas, 

Colin Timms 

Vivaldi’s Serenatas: long cantatas or short operas?, 


Antonio Vivaldi’s setting of Teuzzone: dramatic speech and musical image, 

Reinhard Strohm 

Name Index. 




NEW 

Bach 

Edited by Yo Tomita, Queen’s University Belfast, UK 

Bach scholars frequently provide excellent examples 

of musicological scholarship, as demonstrated by the 

31 published articles selected for this volume. These 

articles also represent a broad spectrum of the scholarly 

discussions on J.S. Bach’s life and works, and facilitate 

the on-going study of Bach’s creative genius. 


Introduction 

Part I Life and Context: 

Johann Christoph Bach (1671–1721), ‘Organist und Schul 

Collega in Ohrdruf’, Johann Sebastian Bachs erster Lehrer, 

Hans-Joachim Schulze 

Johann Sebastian Bach als Schüler der Partikularschule zu St Michaelis in Lüneburg, 

oder Lüneburg eine Pflegstätte kirchlicher Musik, 

Wilhelm C. Junghans 

The musician versus the grammarian: an early storm warning, 

Paul S. Minear 

In defence of J.A. Scheibe against J.S. Bach, 

George J. Buelow 

J.S. Bach: new light on his faith, 

Christoph Trautmann 

Motive and motif in the church music of Johann Sebastian Bach, 

Robin A. Leaver. 

Part II Source Studies: 

Zum Wandel des Bach-Bildes. Zu Friedrich Blumes Mainzer Vortrag, 

Alfred Dürr 

Antwort von Friedrich Blume, 

Friedrich Blume 

Persönliches zur Geschichte der Jüngeren Bach-Forschung ( A personal message 

concerning the history of recent Bach scholarship), 

Arthur Mendel 

Yoshitake Kobayashi’s article ‘On the Chronology of the Last Phase of Bach’s Work 

– Compositions and Performances: 1736 to 1750’ – an analysis with translated 

portions of the original text, 

Gerhard Herz. 

Part III Genre Studies: 

Bach’s chorale cantatas, 

Alfred Dürr 

Neue ‘Texte zur Leipziger Kirchen-Music’, 

Wolf Hobohm 

Der Picander-Jahrgang, 

Klaus Häfner 

Bach und der Picander-Jahrgang – Eine Erwiderung, 

William H. Scheide 

Picander, der Textdichter von Bachs viertem Kantatenjahrgang. Ein neuer Hinweis, 

Klaus Häfner 

Eindeutigkeit und Mehrdeutigkeit in Picanders Kantatenjahrgangs-Vorbemerkung 

und im Werkverzeichnis des Nekrologs auf Johann Sebastian Bach, 

William H. Scheide 

Traces of the pre-history of Bach’s St John and St Matthew Passions, 

Arthur Mendel 

‘Et Incarnatus’ and ‘Crucifixus’: the earliest and the latest settings of Bach’s B-minor 

Mass, 

Christoph Wolff 

Friedrich Smend’s edition of the B-minor Mass by J.S. Bach, 

Georg von Dadelsen 

Universality in Bach’s B Minor Mass: a portrait of Bach in his final years, 

Yoshitake Kobayashi 

Zur Parodiefrage in Bachs h-Moll-Messe: Eine Bestandsaufnahme, 

Alfred Dürr 

The parody process in Bach’s music: an old problem reconsidered, 

Hans-Joachim Schulze 

Parody and theological consistency: notes on Bach’s A-Major Mass, 

Robin A. Leaver 

Bach the progressive: observations on his later works, 

Robert L. Marshall 

Bach: progressive or conservative and the authorship of the Goldberg Aria, 

Frederick Neumann 

Postscript, 

Robert L. Marshall 

Psalm and the Well-Tempered Clavier II: revisiting the old question of Bach’s source of 

inspiration, 

Yo Tomita. 

Part IV Performance Practice: 

Performance practice of Bach’s cantatas: original performance material; original 

rehearsals: original performance forces: original performance style: conclusions for 

modern performance, 

Alfred Dürr 

Bach’s chorus: a preliminary report, 

Joshua Rifkin 

Does ‘well-tempered’ mean ‘equal-tempered’?, 

Rudolf Rasch 

Some performance problems of Bach’s unaccompanied violin and cello works, 

Frederick Neumann 

Name Index; Works Index. 


february 2011 612 pages Hardback 978-0-7546-2891-0 

http://www.ashgate.com/isbn/9780754628910

5-Volume Set ISBN: 978-0-7546-2903-0 

NEW 

Handel 

Edited by David Vickers, Royal Northern College of Music, Manchester, UK 

This anthology brings together the best of recent scholarly literature devoted to Handel selected from diverse sources including specialist yearbooks, 

festschrifts, newsletters, conference proceedings, exhibition catalogues and journals and consist of different kinds of studies of the composer’s 

biography, operatic career, singers, librettists, as well as studies of his relationship with the music of other composers. 


Introduction 

Part I Biographical Aspects: 

Mythistorica Handeliana, 

Charles Cudworth 

Organ playing in the Lateran and other remembrances on Handel: a report in the 

Voiage Historique of 1737, 

Ursula Kirkendale 

Handel and the feuding royals, 

Thomas McGeary 

Handel’s art collection, 

Alison Meyric Hughes and Martin Royalton-Kisch 

Joseph Goupy and George Frideric Handel: from professional triumphs to personal 

estrangement, 

Ellen T. Harris 

Handel’s ill health: documents and diagnoses, 

David Hunter. 

Part II Handel and the Opera House: 

Handel’s Haymarket Theater, 

Mark W. Stahura 

Box office reports for five operas mounted by Handel in London, 1732–1734, 

Judith Milhous and Robert D. Hume 

Handel’s 1736 performances of Ariodante, 

Donald Burrows. 

Part III Case Studies of Handel’s Compositions: 

Benedetto Pamphilj as librettist: Mary Magdalene and the harmony of the spheres in 

Handel’s Il trionfo del Tempo e del Disinganno, 

Huub van der Linden 

Psychological realism in Il trionfo del tempo e del disinganno, 

Ruth Smith 

A newly discovered Water Music source, 

Terence Best 

Handel and the confus’d shepherdess: a case study of stylistic eclecticism, 

Graham Cummings 

Handel, Jennens and Saul: aspects of a collaboration, 

Anthony Hicks 

From Milton to Handel: the transformation of Milton’s L’Allegro and Il Penseroso into a 

musical work for concert performance in the London theatres, 

Donald Burrows 

Some thoughts on musical organization in L’Allegro il Penseroso ed il Moderato, 

Graydon Beeks 

Part IV Handel’s Performers: 

The unpublished Senesino, 

Elisabetta Avanzati 

From Rinaldo to Orlando, or Senesino’s path to madness, 

Melania Bucciarelli 

Francesca Cuzzoni and Faustina Bordoni: the rival 

queens?, 

Suzana Ograjenšek 

Marie Sallé as muse: Handel’s music for mime, 

Sarah McCleave 

John Beard: the tenor voice that inspired Handel, 

Neil Jenkins. 

Part V Librettists: 

Handel’s relations with the librettists of his operas, 

Winton Dean 

The achievments of Charles Jennens (1700–1773), 

Ruth Smith 

George Frideric Handel’s 1749 letter to Charles Jennens, 

William D. Gudger 

Thomas Morell and his letter about Handel, 

Ruth Smith. 

Part VI Handel and Other Composers: 

Handel’s years as an apprentice to Reinhard Keiser at the Gänsemarkt opera house 

(1703–1705), 

Hans Joachim Marx 

Handel and Alessandro Scarlatti, 

Winton Dean 

Handel and the shepherds of Ansbach, 

John H. Roberts 

What did Handel learn from Steffani’s operas?, 

Colin Timms. 

Part VII Performing Handel: 

Who does what, when? On the instrumentation of the basso continuo and the use of 

the organ in Handel’s English oratorios, 

Donald Burrows 

Staging a Handel opera, 

Andrew V. Jones 

Name Index. 




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